Can We Trust Creativity Tests?

A Review of the Torrance Tests of Creative Thinking (TTCT)

Kyung Hee Kim
Eastern Michigan University
ABSTRACT: Dr. E. Paul Torrance, Father of Creativ-
ity, is best known for developing the Torrance Tests of
Creative Thinking (TTCT). The TTCT was developed
by Torrance in 1966. It has been renormed 4 times: in
1974, 1984, 1990, and 1998. There are 2 forms (A and
B) of the TTCT-Verbal and 2 forms (A and B) of the
TTCT-Figural. However, in the scope of this review,
only the TTCT-Figural was examined. The TTCT has
been translated into more than 35 languages (Millar,
2002). It has become highly recommended in the edu-
cational field and is even used in the corporate world.
It is the most widely used test of creativity (Davis,
1997) and is the most referenced of all creativity tests
(Lissitz & Willhoft, 1985). Basic information is pre-
sented, including purposes, content area, norms, reli-
ability, and validity. Strengths and weaknesses of the
TTCT, including use of the TTCT in identifying gifted
learners and suggestions for further development and
improvement, are provided and discussed.
E. Paul Torrance was an international leader in cre-
ativity research and was best known for developing the
Torrance Tests of Creative Thinking (TTCT), which
are used in the business world and in education to as-
sess individuals capacity for creativity (E. Paul
Torrance, 87, 2003, p. B13).
Torrance (1966, p. 6) defined creativity as
a process of becoming sensitive to problems, deficiencies,
gaps in knowledge, missing elements, disharmonies, and so
on; identifying the difficulty; searching for solutions, making
guesses, or formulating hypotheses about the deficiencies:
testing and retesting these hypotheses and possibly modify-
ing and retesting them; and finally communicating the
results.
The TTCT does not entirely operationalize
Torrances definition of creativity (Chase, 1985);
however, Torrance neither concluded that his tests as-
sess all dimensions of creativity, nor did he suggest
that they should be used alone as a basis for decisions
(Treffinger, 1985). Torrance (1974) stated that show-
ing a high degree of these abilities on the TTCT does
not guarantee a persons chances of behaving cre-
atively. According to Torrance (Torrance, 1990, 1998;
Torrance & Ball, 1984), creative motivation and skills
as well as creative abilities are necessary for adult
creative achievement to occur.
The TTCT-Verbal and the TTCT-Figural are two
versions of the TTCT. The TTCT-Verbal has two paral-
lel forms, A and B, and consists of five activities:
ask-and-guess, product improvement, unusual uses,
unusual questions, and just suppose. The stimulus for
each task includes a picture to which people respond in
writing (Torrance, 1966, 1974). The TTCT-Figural has
two parallel forms, Aand B, and consists of three activ-
ities: picture construction, picture completion, and re-
peated figures of lines or circles. For the purposes of
this article, only the TTCT-Figural will be discussed.
Ten minutes are required to complete each activity. In
Activity I, the subject constructs a picture using a pear
or jellybean shape provided on the page as a stimulus.
The stimulus must be an integral part of the picture
construction. Activity II requires the subject to use 10
incomplete figures to make an object or picture. The
Creativity Research Journal
2006, Vol. 18, No. 1, 314
Copyright 2006 by
Lawrence Erlbaum Associates, Inc.
Creativity Research Journal 3
This is a version of a paper presented at the 8th Asian-Pacific Confer-
ence on Giftedness held in Daejeon, Korea, July 2630, 2004.
Correspondence and requests for reprints should be sent to
Kyung Hee Kim, 313 Porter College of Education Building, Depart-
ment of Teacher Education, Eastern Michigan University, Ypsilanti,
MI 48197. E-mail: kkim7@emich.edu
last activity, Activity III, is composed of three pages of
lines or circles that the subject is to use as a part of his
or her picture (Torrance, 1966, 1974, 1990, 1998;
Torrance & Ball, 1984).
Torrance (1966) recommended the creation of a
game-like, thinking, or problem-solving atmosphere,
avoiding the threatening situation associated with test-
ing. His intent was to set the tone so that the expecta-
tion that examinees would enjoy the activities was cre-
ated. Examinees should be encouraged to have fun
and should experience a psychological climate that is
as comfortable and stimulating as possible. Thus, ac-
cording to the administration of the TTCT in the man-
ual (Ball & Torrance, 1984), administrators of the tests
should invite the examinees to enjoy the activities and
view the tests as a series of fun activities, thereby re-
ducing test anxiety.
The TTCT can be administered as an individual or
group test from the kindergarten level through the
graduate level and beyond. It requires 30 min of work-
ing time, so speed is important, and artistic quality is
not required to receive credit (Chase, 1985). Scholastic
Testing Service, Inc., holds the copyright for the TTCT
and has provided a 1998 norms manual for the test.
Purpose
The TTCT was part of a long-term research pro-
gram emphasizing classroom experiences that stimu-
late creativity (Swartz, 1988). Torrance is readily
identified with his eponymous tests of creativity, but
assessment of creativity was not one of Torrances
goals. Torrances main focus was in understanding
and nurturing qualities that help people express their
creativity. The tests were not designed to simply mea-
sure creativity, but instead to serve as tools for its en-
hancement (Hbert, Cramond, Neumeister, Millar, &
Silvian, 2002). Torrance (1966, 1974) suggested the
following uses for the tests:
1. To understand the human mind and its func-
tioning and development.
2. To discover effective bases for individualizing
instruction.
3. To provide clues for remedial and
psychotherapeutic programs.
4. To evaluate the effects of educational pro-
grams, materials, curricula, and teaching pro-
cedures.
5. To be aware of latent potentialities.
In other words, although the tests have been used
mostly for assessment in the identification of gifted
children, Torrance originally planned to use them as a
basis for individualizing instruction for different stu-
dents based on the test scores (Torrance, 1966, 1974).
The test may yield a composite score (the Creativity
Index[CI]), but Torrance discouraged interpretation of
scores as a static measure of a persons ability and, in-
stead, argued for using the profile of strengths as a
means to understand and nurture a persons creativity
(Hbert et al., 2002; Torrance, 1966, 1974, 1979).
Thus, the purposes of the TTCT are for research and
experimentation, for general use, for instructional
planning, and for determining possible strengths of
students.
Content Areas
Guilford (1956, 1959, 1960, 1986) considered cre-
ative thinking as involving divergent thinking, which
emphasizes fluency, flexibility, originality, and elabo-
ration. Guilford, however, noted that creative thinking
is not the same as divergent thinking, because creativ-
ity requires sensitivity to problems as well as redefini-
tion abilities, which include transformations of
thought, reinterpretations, and freedom from func-
tional fixedness in driving unique solutions. Although
there have been several revisions of the TTCT-Figural
manual, the test itself has remained unchanged. The
first edition in 1966 measured fluency, flexibility, orig-
inality, and elaboration, which were taken from the di-
vergent-thinking factors found in Guilfords (1959)
Structure of the Intellect Model (Baer, 1997; Torrance,
1966). The second edition measured the same four
scoring variables as that of 1966 (Torrance, 1974).
The stimuli of the TTCT of 1984 are identical to
those of 1966 and 1974, but the scoring procedures
were changed in the third edition, the TTCT of 1984.
Chase (1985) criticized earlier editions of the TTCT
because of a lack of empirical basis for the scoring de-
cisions caused by the subjectivity of scoring. However,
the scoring system has been improved since the 1984
edition, because Torrance (Ball & Torrance, 1984) en-
hanced the scoring of the TTCT by designing a stream-
lined scoring system. The TTCT-Figural manual has
presented a simplification of the scoring procedures
4 Creativity Research Journal
K. H. Kim
and has also provided a detailed scoring workbook
(Ball & Torrance, 1984) in addition to the
Norms-Technical Manual.
Two norm-referenced measures of creative poten-
tial, abstractness of titles and resistance to premature
closure, were added to fluency, originality, and elabo-
ration; the measure of flexibility (scored by the variety
of categories of relevant responses) was eliminated be-
cause it correlated very highly with fluency (Hbert et
al., 2002). The five subscales are listed as follows, with
descriptions of each subscale and information about
scoring and the content measured (Torrance & Ball,
1984; Torrance, 1990):

Fluency: The number of relevant ideas; shows an

ability to produce a number of figural images.

Originality: The number of statistically infre-

quent ideas; shows an ability to produce uncom-
mon or unique responses. The scoring procedure
counts the most common responses as 0 and all
other legitimate responses as 1. The originality
lists have been prepared for each item on the ba-
sis of normative data, which are readily memo-
rized by scorers.

Elaboration: The number of added ideas; demon-

strates the subjects ability to develop and elabo-
rate on ideas.
Abstractness of Titles: The degree beyond label-
ing; based on the idea that creativity requires an
abstraction of thought. It measures the degree a
title moves beyond concrete labeling of the pic-
tures drawn.
Resistance to Premature Closure: The degree of
psychological openness; based on the belief that
creative behavior requires a person to consider a
variety of information when processing informa-
tion and to keep an open mind.
Thirteen criterion-referenced measures, which
Torrance called creative strengths, also were added to
the scoring (Torrance, 1990; Torrance & Ball, 1984).
The creative strengths are emotional expressiveness,
storytelling articulateness, movement or action, ex-
pressiveness of titles, synthesis of incomplete figures,
synthesis of lines or circles, unusual visualization, in-
ternal visualization, extending or breaking boundaries,
humor, richness of imagery, colorfulness of imagery,
and fantasy.
To get a CI, the standard scores of each of five vari-
ables are used according to the TTCT Norms-Techni-
cal Manual (Torrance, 1998). Rawscores are converted
into standard scores with means of 100 and standard
deviations of 20. The standard scores of each subscale
can be ranged as follows: fluency, 40154; originality,
40160; elaboration, 40160; Abstractness of titles,
40160; resistance to premature closure, 40160. The
standard scores for each of the five norm-referenced
measures are averaged to produce an overall indicator
of creative potential. For the frequency of creative
strength, a + or ++ is awarded on the basis of the scor-
ing guide. The number of +s is added (range for Cre-
ative Strengths: 026) to the averaged standard scores
to yield a Creative Index (Torrance, 1998).
Torrance added these subscales based on informa-
tion that was unavailable when he originally developed
the TTCT in 1966, because of his concern that the
norm-referenced score was not measuring the breadth
of creativity manifestations he had observed (Hbert et
al., 2002; Torrance, 1979). He used continued research
to expand his test, including studies of the creative gi-
ants, personality studies of creative people, creativity
training guides, his own studies, and other literature in
the field. Torrance (1979, 1988, 1994; Torrance &Ball,
1984) also provided evidence to show that the new
subscales were valid predictors of creative achieve-
ment and that they improved the tests validity. Content
and construct validity of the scoring variables have
been studied in a factor-analytic study (Mourad, 1976),
a comparative study (Rungsinan, 1977), a develop-
mental study (Ali-el-din, 1978; 1982), and Torrances
The Search for Satori and Creativity (1979). Accord-
ing to Johnson and Fishkin (1999), the TTCTs revised
scoring system addresses essential constructs of cre-
ative behaviors reflective of Torrances (1988) defini-
tion of creativity. Therefore, Torrance showed that the
TTCT is not only a divergent thinking test but also a
creativity test as of the 1984 revisions.
Norms
The 1998 TTCT manual provides norms generated
in the summer of 1997 and includes both grade-related
(kindergarten through Grade 12) and age-related
norms (ages 6 through 19). Samples included 55,600
kindergarten through 12th-grade students from the
central (3.6%), northeast (11.4%), southeast (15.2%),
Creativity Research Journal 5
Torrance Tests of Creative Thinking
and western (57.6%) regions in the United States and
other areas, including Canada (2.2%; Torrance, 1998).
These groupings are used by the National Assessment
of Educational Progress, the U.S. Department of Com-
merce, and the National Education Association. The
central region was somewhat undersampled, and the
western region was oversampled. Although the TTCT
has been used in more than 35 countries for research
purposes, there have been fewer authorized versions
for which the developers have developed (or been de-
veloping) country norms. Among those are Brazil,
France, Italy, Portugal, Saudi Arabia (and the Arabic
countries), Slovenia, Taiwan, Turkey, and Korea (un-
der development). In each of these countries, the norms
were developed by the local author (J. Kauffman, vice
president of Scholastic Testing Service, Inc., personal
communication, January 25, 2005). In addition, norms
for many other countries either have been either or are
being developed for research purposes.
Reliability
According to the TTCT-Figural Manual of 1998, the
reliability estimates of the creative index from
KuderRichardson 21 using 99th percentile scores as
the estimates of the number of items rangedbetween.89
and .94. The TTCT-Figural Manual of 1990 states that
the interrater reliability among the scorers for Scholas-
tic Testing Service, Inc., was greater than .90. Samples
included 88,355 kindergarten through 12th-grade stu-
dents intheUnitedStates fromthesouth(41.4%), north-
east (28.5%), north central (5.1%), and west (5.1%), as
well as some students from Canada (Torrance, 1990).
According to the TTCT manuals of 1966 and 1974,
the testretest reliability coefficients have ranged from
.50 to .93, which is not so high. Torrance (1974) indi-
cated that motivational conditions affect the measure-
ment of creative functioning, which could explain the
low testretest reliability. Treffinger (1985) concluded
that, given the complexity of creative thinking, the
TTCT can be seen as having reasonable reliability for
group and research applications.
Validity
The preliminary studies were conducted examin-
ing the predictive validity of the TTCT including ele-
mentary education majors (Torrance, Tan, & Allman,
1970), seventh-grade students (Cropley, 1971), and
economically disadvantaged elementary school Black
children (Witt, 1971), which increased the TTCTs
credibility as a predictor of creative productivity
(Hbert et al., 2002). However, four points of data
that were collected from two elementary schools and
a high school provide the major body of longitudinal
research on the TTCT. Beginning in 1958 and contin-
uing through 1964, all students enrolled in grades 16
in two elementary schools took the TTCT each year.
Beginning in 1959, all students enrolled in grades
712 of the University of Minnesota High School
also took the TTCT.
The results of the follow-up of 46 high school stu-
dents at a 7-year interval are as follows (Torrance,
1969, 1972). Three of the TTCT subscales (fluency,
flexibility, and originality) correlated significantly (at
the .01 level) with both quantity and quality of creative
achievements, and the significant correlations ranged
from r = .39 to .48. IQ (Iowa Test of Basic Skills,
Lorge-Thorndike, or the Stanford-Binet Intelligence
Scale) correlated (r = .37) with quality of creative
achievements. The three TTCT subscale scores were
better predictors of creative achievement than IQ, high
school achievement, or peer nominations.
The results of the follow-up of 236 high school stu-
dents at the 12-year interval indicated that all of the
creativity predictors (fluency, flexibility, inventive
level, elaboration, originality, and IQ [only for qual-
ity]) were found to be significant (at the .01 level), ex-
cept IQfor quantity of creative achievements (r = .06, p
> .05) and creativeness of aspiration (r = .18, p .05)
for girls (Torrance, 1972).
The results of the follow-up of 211 elementary
school students at the 22-year interval are as follows
(Torrance, 1980, 1981a, 1981b). The criteria used were
number of high school creative achievements, number
of posthigh school creative achievements, number of
creative style of life achievements, quality of highest
creative achievements, and creativeness of future ca-
reer image. The judges interrater reliabilities obtained
using Cronbachs alpha were .81 (Torrance, 1981b).
Pearson productmoment correlation coefficients cal-
culated between the CI from elementary school TTCT
scores and each of the five criteria was significant (at
the .001 level). Amultiple correlation coefficient of .63
was obtained for the five criteria entered into a step-
wise multiple regression equation (Torrance, 1981b).
6 Creativity Research Journal
K. H. Kim
The results of the follow-up of 99 elementary
school students at the 40-year interval are as follows
(Torrance, 2002). The predictors included IQ, flu-
ency, flexibility, originality, elaboration, creative
strengths, whether respondents had a mentor in 1980,
and whether respondents had a mentor in 1998. The
criteria used were number of publicly recognized cre-
ative achievements and quality of public achieve-
ments. The judges interrater reliabilities obtained us-
ing Cronbachs alpha ranged from .78 to .88. IQ was
a significant predictor of quantity (r = .44, p .01)
and quality (r = .46, p .01) of creative achievements
for females but not for males. Originality was a sig-
nificant predictor of quality of creative achievements
for both males (r = .32, p .05) and females (r = .40,
p .01). Creative strengths was a significant predic-
tor of quality for males (r = .45, p .01), and both
quality (r = .41, p .01) and quantity (r = .29, p
.05) were significant predictors of quality for fe-
males. Having had a mentor in 1980 was a significant
predictor of quantity (r = .41, p .01) and quality (r
= .50, p .01) of creative achievements for females
but not for males. Having had a mentor in 1998 was a
significant predictor for both males (r = .36, p .05)
and females (r = .40, p .01) for quality of creative
achievements but not for quantity. Quantity and qual-
ity of creative achievements were highly correlated
for both males (r = .90, p .01) and for females (r =
.81, p .01). This showed the link between quantity
of ideas and the production of quality of ideas
(Hbert et al., 2002).
Torrance and Wus (1981) study and Yamada and
Tams (1996) reanalysis and Pluckers (1999)
reanalysis of Torrances data concluded that the Cre-
ative Index was the best predictor for adult creative
achievement. Plucker (1999) found that the standard-
ized path coefficient from the TTCT to adult creative
achievement was .60, whereas the standardized path
coefficient from IQ scores (the Stanford-Binet Intelli-
gence Scale, Wechsler Intelligence Scale for Children,
or California Test of Mental Maturity) was .19.
In terms of concurrent validity, Gonzales and Cam-
pos (1997) studied the correlations between TTCT and
the Spatial Test of Primary Mental Abilities (PMA)
and the Gordon Test of Visual Imagery Control. The
results indicated that imagery was significantly corre-
lated with various aspects of creative thinking. Among
those with IQ > 120, the correlation between original-
ity and PMA was .36 (p < .001) and the correlation be-
tween originality and scores on the Gordon test was .30
(p < .01). The correlation between resistance to prema-
ture closure and PMA was .33 (p < .001), and resis-
tance to premature closure and the Gordon test was .26
(p < .01).
In terms of construct validity, studies on the TTCT
have shown conflicting results regarding its
dimensionality (Chase, 1985; Clapham, 1998; Dixon,
1979; Heausler & Thompson, 1988; Hocevar, 1979a,
1979b; Hocevar & Michael, 1979; Runco & Mraz,
1992; Treffinger, 1985). Guilford (1959, 1962) con-
ceptualized divergent thinking as multidimensional,
and many researchers have hypothesized that creativity
consists of several independent psychological factors.
Torrance (1966, 1974) also encouraged the use of indi-
vidual scale scores and warned that using a single score
may be misleading.
However, Hocevar (1979a, 1979b) argued that the
TTCT and Guilfords divergent thinking tests measure
only fluency. Dixon (1979) was concerned that origi-
nality scores of the TTCT depended heavily on fluency
scores. Abernathy Tannehill (1998) also considered
the significant correlation between fluency and origi-
nality as the sign that the subscores of the TTCT may
not measure independent constructs.
Hocevar and Michael (1979) found that the
heterotraitmonomethod coefficients were too high
compared with monotraitheteromethod coefficients
based on multitraitmultimethod analyses using the
TTCT and Guilford tests, which suggests that these
two tests lack discriminant validity. Runco and Mraz
(1992) also criticized the lack of discriminant validity
of the TTCT in a study including several other diver-
gent thinking tests.
Heausler and Thompson (1988) concluded that the
correlations among the subscales were so high that
each subscale could not provide meaningfully different
information. Chase (1985) suggested that the correla-
tion coefficients among fluency, flexibility, and origi-
nality were so high (.74 to .80) that one single score
could be appropriate for the three subscores. Thus,
Treffinger (1985) warned that interpretations of TTCT
subscores as if they were independent should be
avoided. Hassan (1986) also concluded that there was
no justification for considering creativity as composed
of the distinct traits recommended by Torrance.
There are not many studies that have analyzed fac-
tor structures of the TTCT. One study modeled two
components through a principal component analysis
Creativity Research Journal 7
Torrance Tests of Creative Thinking
and concluded that the scores of the TTCT primarily
reflect one general factor (Heausler & Thompson,
1988). Clapham (1998) also concluded that there is
only one general factor for the TTCT. Further, the re-
sult of a principal component analysis indicated that
resistance to premature closure explained the highest
amount of the variance in the CI.
Contrary to the research cited here, the results of
confirmatory analyses (Kim, in press; Kim &
Cramond, 2004) based on 500 sixth graders indicated
that a two-factor model fits significantly better than a
single-factor model. This study examined the possi-
bility of a two-factor model based on Kirtons (1976,
1978, 1989) AdaptorInnovator (AI) Theory. Ac-
cording to Kirton (1978), innovators prefer to create
change by threatening the paradigm, whereas adap-
tors prefer to create change by working within the ex-
isting paradigm. Factor innovative is loaded by flu-
ency, originality, and resistance to premature closure,
whereas factor adaptive is loaded by elaboration, ab-
stractness of titles, and creative strengths. The factor
models with and without creative strengths also were
analyzed, because creative strengths had different
procedures from the other subscales in scoring. How-
ever, this subscale is too important to be excluded
from full explanations of the scores of the TTCT (E.
P. Torrance, personal communication, October 30,
2002). The factor models without creative strengths
fit better than those with creative strengths. This indi-
cates that creative strengths might represent a sepa-
rate factor. However, more indicators of the TTCT
would be needed to test this model.
The high (.844) correlation between fluency and
originality also was noted in Kimand Cramonds study
(2004), as criticized by several researchers before.
However, Torrance and Safter (1999) argued that the
person who produces a large number of alternatives is
more likely to produce original ones. Simonton (1990)
also concluded that a persons originality is a function
of the number of ideas formulated. Several longitudi-
nal studies of the TTCT also have shown a link be-
tween the quantity of ideas and the quality of ideas that
are produced (Hbert et al., 2002), as mentioned in the
validity section.
Other studies (Kim, 2004a; Kim, Cramond, &
Bandalos, 2004, in press) based on 3,000 kindergarten-
ers, third graders, and sixth graders support a two-fac-
tor structure. In addition, the results of the multiple
group analyses indicated that the latent structure of the
TTCT showed more differences across grade-level
groups than across gender groups. These findings are
consistent with Torrances conclusion (1977) that the
TTCT-Figural was fair in terms of gender. These re-
sults also indicate that when TTCT scores are com-
pared among different grade levels, more caution may
be needed for interpretation.
Merits
Positive features of the TTCT include the wealth of
information available on it, the short time needed for
administration, and the ease of its administration
(Swartz, 1988). It has fewer limitations and cautions to
apply, and it is more researched and analyzed than any
other creativity instrument (Johnson & Fishkin, 1999;
Swartz, 1988; Treffinger, 1985). The TTCT-Figural
has had 25 years of extensive development and evalua-
tion (Millar, 2002). It has one of the largest norming
samples, with valuable longitudinal validations (Davis,
1997) and high predictive validity over a very wide age
range (Cropley, 2000). The standardized administra-
tion, scoring procedures and norms, and the develop-
ment and evaluation (Davis &Rimm, 1994) have made
the TTCT especially useful for identifying gifted and
talented students. The TTCT-Figural can be fair in
terms of gender, race, and community status, as well as
for persons with a different language background, so-
cioeconomic status, and culture (Cramond, 1993;
Torrance, 1977). Torrance (1971; Torrance &
Torrance, 1972) found that in most situations there are
no statistically significant differences in performance
on the TTCT because of race or socioeconomic status;
in some cases, the TTCT favors Black children and
children of low socioeconomic backgrounds.
Use in Identifying Gifted Learners
The most extensive use of the TTCT-Figural is for
identification of children for gifted programs. The
TTCT is a helpful addition to the assessment reper-
toire, because most measures for gifted identification
are heavily driven by verbal and quantitative content
(Torrance, 1977), largely measuring achievement and
aptitude in those specific areas. Even teacher recom-
mendation focuses more on the students classroom
performance than other kinds of potential. For these
8 Creativity Research Journal
K. H. Kim
reasons, the TTCT-Figural is valuable in that it allows
another perspective on the students ability that is
vastly different from other aptitude and achievement
tests. It also may be less biased for those who speak
English as a second language (Torrance, 1977), be-
cause the test is not based on a students ability to use
the English language.
As an alternative to standardized testing, expert
opinions are highly recommended for identifying
gifted students by Baer (1993, 1994). Cramond
(1994b), however, pointed out that experts might have
failed to identify Van Gogh, Einstein, and Edison as
gifted when they were children either because of a
vested interest in the status quo or because of the chil-
drens lack of production in the field of their future suc-
cess. Experts may find the child who is already suc-
ceeding in a field but are hard pressed to discover latent
potential. Furthermore, such opinions are costly, and
true experts are rare, especially in rural areas.
In practical situations, teacher nomination is one of
the most common methods for identifying gifted stu-
dents. However, teachers tend to prefer gifted children
who are low in creativity to those who are highly cre-
ative (Anderson, 1961). Research has shown that
teachers are apt to identify students who are achievers
and teacher pleasers as gifted rather than creative stu-
dents who may be disruptive or unconventional (Davis
& Rimm, 1994; Oliphant, 1986; Rimm & Davis, 1976;
Ritchie, 1980; Robinson, 1980). Even worse, energetic
and unconventional students can be seen as having At-
tention Deficit Hyperactivity Disorder (ADHD) by
their teachers (Cramond, 1994a). As a result of scho-
lastic expectations and the needs of creatively gifted
children, the potential of creatively gifted students may
be overlooked by teachers who view them as trouble-
makers rather than successful young scholars.
Getzels and Jackson (1958) found that highly cre-
ative adolescents are estranged from their teachers and
peers. Children with high IQs were rated by their
teachers as more desirable, better understood, more
ambitious, and more studious than children with high
creativity (Torrance, 1962). Drews (1961) found that
the studious achievers attained the highest teacher
grades, whereas the creative intellectuals attained the
lowest among three types of gifted high school stu-
dents: social leaders, studious achievers, and creative
intellectuals. In Whitmores study (1980), when in-
formed that children they had not recommended might
be gifted, teachers usually volunteered information
about the childs lack of the expected characteristics.
Reasons included immature social and emotional be-
havior, lack of striving to achieve, and less productivity
than other classmates.
Identification based on IQ scores may appear like
an obvious way to identify gifted students in an educa-
tional systemthat favors conformity, but such a limited
selection criteria risks allowing creatively gifted chil-
dren to go unnoticed, thus leaving their needs unmet.
Torrance (1962) was concerned that a great deal of cre-
ative talent goes unrecognized. Torrance (1960, 1962,
2002) concluded that if we identify gifted children
only on the basis of IQand scholastic aptitude tests, we
are eliminating approximately 70% of the top 20% of
creative students from consideration. According to
Barron and Mackinnons (Barron, 1961; Macckinnon,
1961, 1978) threshold theory, creativity and IQ are
moderately related, but the relationship disappears for
people with an IQ above 120. Walberg and Herbig
(1991; Walberg, 1988) concluded that the very bright-
est, as identified by estimated IQ, are not necessarily
the most creative.
To balance the risk of missing creative students that
comes from identifying students by IQ only, an addi-
tional form of selection may be called for. The
TTCT-Figural may be a less biased and more efficient
method than expert opinions, which may be inaccessi-
ble, subjective, and expensive. It may also be less sub-
jective and biased than teacher recommendations. Fur-
thermore, the TTCT should be used to add highly
creative students who may remain unnoticed in other
ways, rather than to eliminate students who otherwise
qualify for gifted education services (Torrance, 2002).
The TTCT is not usually used by itself to make
high-stakes decisions on admission to gifted programs.
As an example, according to the Georgia Department
of Education (1998; Krisel & Cowan, 1997), to be eli-
gible for gifted programs (a) a student must score ei-
ther at the 99th percentile (for kindergarteners2nd
graders) or the 96th percentile (for 3rd 12th graders)
on the composite or full-scale score of a standardized
intelligence test and meet the achievement criteria or
(b) qualify through a multiple-criteria assessment pro-
cess by meeting the criteria in three of the following
four areas: intelligence, achievement, creativity, and
motivation. This indicates that creativity is onenot
the onlycriterion used to identify a gifted student.
Because Torrances purposes for developing the TTCT
were for inclusion of students rather than exclusion of
Creativity Research Journal 9
Torrance Tests of Creative Thinking
students for individualizing instructional programs
(Treffinger, 1985), the TTCT should be used for in-
cluding students for gifted programs. An example of
the merits of an inclusive systemcan be found in Geor-
gia, where many school systems use the TTCTfor their
creativity measure in the selection of students for
gifted programs (a student must score at the 90th per-
centile on the TTCT). Since Georgia adopted the mul-
tiple criteria selection process, more minority, disad-
vantaged, and other at-risk students have been placed
in gifted programs than when Georgia merely used IQ
scores (Williams, 2000).
Suggestions for Further Development
The TTCT-Figural appears to display adequate re-
liability and validity (Treffinger, 1985; Cooper, 1991)
for the purposes of the test. However, reliability and
validity information for the latest addition of
TTCT-Figural (Torrance, 1998) have not been pro-
vided. This information is needed, because the new
norm group may provide different reliability and va-
lidity than the 1990 norm group. This is an issue, be-
cause without reliability and validity, use of a test vi-
olates American Psychological Association standards
of practice, particularly when a test is used as an in-
strument for making a decision for admission to a
program.
Besides a lack of reliability and validity information
in the latest version of the TTCT for the norm groups,
demographic characteristics such as gender, race, com-
munity status, and speakers of English as second lan-
guage were not outlined (e.g., Torrance, 1990, 1998).
This omission could stem from the conclusion that the
TTCT is fair in terms of race, socioeconomic status,
and culture (Cramond, 1993; Torrance, 1971, 1977;
Torrance & Torrance, 1972). However, such demo-
graphic information should be included at different
time periods for each version of the TTCT, because la-
tent structures could vary across different groups for
each CI. This information could lead to a greater un-
derstanding of the TTCT, other creativity tests, the na-
ture of creativity, and, ultimately, how to encourage
creativity.
It is probable that the originality scores also would
change among various demographics over time. The
author questions the credibility of originality scores
from 1998, which used the same lists as in 1984. It ap-
pears likely that the frequency of different responses
would have changed between 1984 and the present. In
addition, these responses may differ across cultures.
The fact that one of Torrances associates, Richard
Johnson, found that originality is culture specific
(Millar, 1995) supports this opinion. Saeki, Fan, and
Van Dusen (2001) also noticed this difference among
cultural groups when comparing Japanese and Ameri-
can responses. The experiences of the TTCT scorers
also have confirmed that there might be cultural differ-
ences in the originality lists (Kim, 2004b). These stud-
ies suggested the creation and use of independent crite-
ria for each group. The statistical frequency of various
responses will vary among people from different cul-
tures, which would bring misleading results if the
TTCT-Figural were used in different cultures without
adequate norm groups for each population and, subse-
quently, their own originality lists.
Some studies (Kwon, 1997; Kwon, Gotez, &
Zellner, 1998) explored the development of a com-
puter-based TTCT-Figural. Goff (2001) developed a
brief version of the TTCT on compact disk, which is
encouraging further development of the TTCT. Use of
computer scoring would provide efficient and
easy-to-understand interpretations of test results, espe-
cially when one considers the amount of time required
for scoring the TTCT. It appears wise to carefully ex-
periment with appropriate applications of the com-
puter and Internet for future testing. In the com-
puter-based TTCTstudies (Kwon, 1997; Kwon, Gotez,
&Zellner, 1998), the TTCT was interpreted in terms of
time of response so that time-related information use-
ful for understanding the creative thinking processes
could be gathered; however, computer-based scoring
was not conducted. Using a mouse to respond to the
stimuli was reported to be more difficult and time-con-
suming compared with the paper-and-pencil TTCT.
Further developments of the TTCT could include the
use of a drawing pad instead of a mouse (Kwon, 1997;
Kwon et al., 1998). In addition, computer-based ver-
sions of the TTCT should be studied to determine
whether they yield equivalent scores as well as equal
levels of reliability and validity as the original.
Torrance (1974) demonstrated that a variety of
motivational procedures affect creative functioning,
furthering the measurement of the abilities involved
in creative thinking. For instance, rewarding creative
behavior (Torrance, 1965a), stress and mental health
(Torrance, 1965b), and teaching procedures and envi-
10 Creativity Research Journal
K. H. Kim
ronmental conditions (1966, 1974) can influence
TTCT scores. Other researchers also concluded that
motivation (Bamber, 1973; Halpin & Halpin, 1973),
fatigue (Johnson & Fishkin, 1999), and testing condi-
tions (Bamber, 1973; Callahan, 1991; Halpin &
Halpin, 1973), as well as exposure to diverse infor-
mation (Clapham, 20002001), influence TTCT
scores. At the same time, however, these effects may
be related to test reliability, depending on administra-
tion differences. Some studies (Iscoe & Pierce-Jones,
1964; Wallach & Kogan, 1965) indicated that creativ-
ity measures are influenced when creativity tests are
administered as serious tests rather than as fun activi-
ties, especially for children in kindergarten or in the
early grades. To address these issues, Torrance (1987)
suggested using a warm-up activity before adminis-
tration of the TTCT to arouse the incubation pro-
cesses and increase motivation, thereby enabling cre-
ative energy. The use of a standardized warm-up
activity that meets Torrances criteria could enhance
the test and minimize fluctuations caused by motiva-
tional factors. Guidelines for a specific activity in-
cluded in the manual and treated as a part of the test
would increase the likelihood that administrators
would follow Torrances suggestions.
Conclusion
Both Torrance (Treffinger, 1985) and Cropley
(2000) suggested that, considering the multidimen-
sional nature of the creativity concept, assessments
should be based on several tests, rather than relying on
a single score. A minimum of two measures to assess
childrens potential for creative behavior was recom-
mended by Johnson and Fishkin (1999). I also recom-
mend using at least two measures; that is, the TTCT
and another indicator (e.g., products, performance, rat-
ing scales, or recommendations).
Torrances research into creativity as a measure of
intelligence shattered the theory that IQ tests alone can
measure real intelligence (Powell, 2003; Shearer,
2003). The TTCT provided a physical measure and
groundwork for the idea that creative levels can be
scaled and then increased through practicea premise
that was previously only conceptual (Childs, 2003).
The TTCTcan provide useful insights into creativity as
long as the tests are used with sensitivity and good
judgment by qualified professionals (Treffinger, 1985;
Swartz, 1988), because variations in testing procedures
can affect scores (Swartz, 1988). To ensure qualified
scorers, there are ongoing TTCT Scoring Trainings by
the Torrance Center for Creativity and Talent Develop-
ment at The University of Georgia and Scholastic
Testing Service, Inc.
In conclusion, the TTCT appears to be a good mea-
sure, not only for identifying and educating the gifted
but also for discovering and encouraging everyday life
creativity in the general population. When used appro-
priately, the TTCT is an important part of Torrances
legacy and dream: to nurture and enhance creativity
among students.
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